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1	Body, Subject, Self: The Art of Piero Manzoni McGrath, John Thomas 04 June 2015 (has links) Piero Manzoni (1933-1963) is one of the best-known and under-theorized artists in all of postwar Europe. His body of work includes a range of practices from monochrome painting to readymade objects, from participatory sculpture to designs for architecture. More than simply innovative in its form and media, however, Manzoni's practice articulates a politics of the body and of the self that departs radically from the belief systems at stake in the work of his contemporaries in both Europe and America. If other postwar artists still claimed access to transcendence, to nature, or to autonomous subjectivity, Manzoni responds with works that reveal the body and the self as material and discursive effects of power relations. / History of Art and Architecture Art history body Buchloh fingerprint Manzoni merda neo-avantgarde
2	Barbro Östlihn och New York : Konstens rum och möjligheter Öhrner, Annika January 2010 (has links) The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework. Barbro Östlihn post war art history American post war art history Swedish art history pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Barbro Östlihn post World War II Art History American post World War II art Swedish Art History pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Art Konstvetenskap

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Body, Subject, Self: The Art of Piero Manzoni

Barbro Östlihn och New York : Konstens rum och möjligheter